1 DIGITALSNAPSHOT moment manipulations of space, place and time thesis (diploma) medium Design • Daniel Lo Iacono table of contents 1. Introduction 2. Conception 2,1 basic idea 2,2 the snapshot as photograph principle 2,3 the manipulation of the digital snapshots 2,4 the "criterion of the painting" 3. Execution 3,1 the choice of the place 3,2 photograph methods and techniques 3,3 challenges with the admission 4. Post office production 4,1 sifting and listing the material 4,2 considerations for the composition of the material 4,2,1 the choice of the display format 4,3 Compositing 4,3,1 Painting 4,3,2 Timestretching 4,3,3 Rotoscoping 4,3,4 Stabilising/Tracking 4,3,5 Colourcorrection 4,4 Schematic View - the schematic opinion 5. Source-draw-eat 1. Introduction as I in the context of my study the book "The kind and Science OF digitally Compositing" of Ron Brinkmann bought, was noticeable me immediately the photo illustrated on the envelope - a photo, which seemed to have to do few at first sight with the topic "digitally Compositing". The photo, then told the interior flap, to 1857 by a certain OSCAR Gustave Rejlander had been created. Who was this OSCAR Gustave Rejlander and which had it with this photo on itself? OSCAR Gustave Rejlander (1813-1875) was born in Sweden. It went to Rome, where it lived on copying the works of old masters. Later it moved to England and began there than haven guessing painters, changed however soon to the photography. It was first, the photo in the sense of its own artistic achievement used, by it category scenes arranged and this then photographed. But this was not yet everything. It combined the departures of different negatives to a picture, manipulated thus in a creative sense of picture elements to a whole one, to an invented new one. For its famous, 1857 developed work "Two Ways OF Life", the photo on the book envelope, he used not less than 30 single photographs, whose negatives he arranged in the Zusammendruck. It should be the first photo assembly, which was able to raise publicly issued and an artistic requirement. The manipulation of different picture elements to a new whole one, to a painting, which consists a fascinating idea imperceptibly of single photographs -. How however could this idea be extended, how to the today's possibilities digitally of the Compositing transfers? And above all: How could such a painting be made alive? 2. Conception 2,1 basic idea a static picture without movements did not come in my considerations into question. My painting, also only once sounded so strange, should become a kurzfilm, which orients itself at no pre-defined action, but with the coincidence and the possibilities of the digital manipulation to experiment should: no film script, no actors, no film set, etc.. Snapshots me unknown quantity persons should be joined to only one snapshot: to an enormous painting, to a video Collage, consisting of digitally built up single photographs. This painting should be so large however contrary to "Two Ways OF Life" by OSCAR Gustave Rejlander that on the screen always only one cutout of it is to be seen and only a virtual camera travel lets each single admission become visible. This camera travel should be continuous and not interrupt by cuts. At the same time also the moment of the snapshot should be made visible: The moment, in which the photographed person in the photo becomes "frozen", although she is in the middle straight in a motion. A fragment of this movement, the moment of "freezing", this fraction of one second should become recognizable, in order to make the painting alive. a certain animal would like to hold 2.2 the snapshot as photograph principle an animal photographer in its pictures. Sometimes for this it must put several hours on the Lauer, until it the animal runs before the lens. The photo, which develops, knows by the choice of the perspective, the objective, which exposure time, etc. are affected, not however the behavior of the photographed object: the animal does not have consciousness of the fact that it is photographed, let alone, which means this, it is in its behavior - to that extent it naturally the photographers not noticed - perfectly ungezwungen, the picture is ungestellt therefore, it is a planned snapshot. Also I considered myself, similarly the animal photographer, before, which persons should be held, and that I was not noticed thereby by the object which can be photographed, it was likewise important. Because contrary to an animal humans know naturally, what means it, to be photographed, and behaves, notices it the photographer, immediately differently, no more do not ungezwungen, even if this does not have to show up inevitably in form of a float obviously placed. Humans photographed by me should behave, as they behave also otherwise in their spare time in the park. Also my photographs should be ungestellt. 2.3 the manipulation of the digital snapshots thus back to the beginnings of the film, when the brothers Lumiere moved first pictures took up? Fascinated of the possibility of being able to note movements these pioneers of the film took up simply the reality, e.g. worker, those their factory left ("sortie d'usine") or the arrival of a course ("L'Arrivé d'un train EN refines de la Ciotat"), a film, with which an immovable camera shows about 50 seconds long the arrival of a locomotive in a station and the travelers when stepping out observed, until nearly all this left the platform. Camera movements were missing thereby completely like also interferences by light giving. Naturally the films of the brothers Lumiere - by the choice of the camera perspective, thus the screen window - present always only a consciously selected cutout of the reality, i.e. however only that the two film producers concentrated on individual aspects in the material happening, thus on the scene, which took place during the photograph before the camera. And they produced thereby neither temporal purchases, to intervene nor they tried by technical interferences (e.g. cut) in the causal happening. Even if they have scenes "produced", e.g. in "sortie d'usine", in which the factory gates on command were opened, then one can speak nevertheless not of a falsification of the material conditions, since the filming would have taken place just as also without the appropriate command. The photographs with "sortie d'usine" and "L'Arrivé d'un train EN refine de la Ciotat" were thus ungestellt, and which generally determines Roberta Pearson over the beginnings of the cinema, Lumiere applies also to the work of the brothers: "from 1894 to 1902/03 consisted most films of only one attitude, their contents we became today as documentarily bezeichnen."1 the brothers Lumiere illustrated in the examples mentioned the reality thus faithfully, and their films represented thus a kind mirror of the reality - in the sense that their films have a documentary character, which (not even by cuts) became later" falsified ", and that her does not tell history. Today however the picture manipulation possibilities are almost unrestricted, and the attraction them to use is large. To that extent my film - contrary to films of the brothers Lumiere - is to stand out against the reality, emanzipieren itself from it: The digital pictorial material is to be worked over again, manipulated. Still something more substantial differentiates my project from these first photographs: The brothers Lumiere were, as fascinates said, by the movement, and exactly this is to be frozen with me, be reduced on one moment, to fragments. What however is this moment and like for a long time lasts it in our perception? Something, which we feel as "momentarily", always concerns our present condition. If we want to thus ask ourselves, what one moment is and how we it to notice, then is this equivalently to the question, as we notice the present: How do we experience the subjective "now", the interface between passing and the future? "the present is not [... ] a point, but possesses an expansion of approximately 3 seconds", summarizes the Physikerin and Philosophin EH Ruhnau the scientific realization of different research and continues: "the Indifferenzintervall, i.e. that length of time, which are best reproduced, are with approximately 3 second. Investigations on poems in different languages show that the duration of spoken verse lines amounts to about 3 seconds. The conscious now seems speaking and culture-independently about 3 seconds to betragen."2 around the movement fragment to make thus the moment, in which the movement is frozen with the snapshot, for the viewer visibly, it consciously and to something present one extended I it thus on one time interval of approximately 3 seconds. Apart from a further temporal manipulation - that that the too different times of day taken up persons were set by the integration into the painting on a temporal level - it was added still the manipulation of the area: repositioning the persons on the painting - which became persons from their original visual context solved and into a new inserts. Thus a similar principle, which pursued OSCAR G. Rejlander, to pursue had. There are several reasons for its proceeding with this first photo assembly. The first reason is purely practical nature: Such a photo - when source of inspiration served it the knowledge of the paintings Raphaels attained with its Rome stay - without mounting technique to take up a very large studio would have required, in which it the numerous models to arrange would have had accordingly, what would have been very cost-intensively and also very complicated: to make a blueprint 30 persons in their different floats in the correct moment, in which all hold perfectly their position and do not move - no easy task. The second reason is justified in the quality of the admission: All persons accurately to illuminate at the same time today still with difficulty, considering the technical facilities at that time would have been not possible. Therefore Rejlander selected another possibility: It photographed the actors in small groups; partly it had to photograph the persons also over mirrors, in order to make it smaller. It combined, as already in the introduction mentioned, the departures of these different negatives developed in such a way to a picture, manipulated thus picture elements to a whole one. Thus it had the possibility of arranging all persons accurately - an time-intensive method, but Rejlander won in such a way of its composition greatest possible control. "Rejlander used this combi nation technique in pursuit OF A specific vision, emergency as A gimmick. There which A great deal OF science involved, but more important, A great deal OF art."3 in the following thing in common between the work the OSCAR G. Rejlanders and my animation: I wanted to experiment likewise 1st technical means with those me the available, 2. a vision in a work of art become alive let, 3. the photographs by manipulation a new whole one to unite, 4th greatest possible control with the composition of the material to have. The difference in the work lies in the collection of the material: While Rejlander arranged the layman actors for its "painting" after positions considered exactly before and thus a history tells, my photograph principle, as in the preceding point describes, was the snapshot. The floats of the persons accepted by me were not arranged by me. The manipulation of the pictorial material is also in the range of the animal photography, in order to return again to find frequent: "the case is exemplary. The South African animal photographer Steve Bloom offers the picture of a gepards, which hunts a Impala Antilope. The gepard was photographed in a raising station and the Impala Antilope in the Krueger national park in South Africa. The racing gepard was built up from three different pictures and at the screen to its final form ›gezogen‹. The picture appeared [... ] as illustration of an article over the genetic depletion of the geparde in the English science magazine new Scientist from 17 February 1996 - without remark over the production. Only the specialist is able to recognize the fact that the position of the ears and the eyes do not tune there-hunting gepard with one also over 100 kilometers per hour kann."4 within the range of the animal photography or also in the mode industry may be still permitted such a manipulation - finally no lives off (not even that the Antilope) hang, and goals with these manipulations none are pursued of making still more beautiful except the Models of such photos. And also the mentioned animal photo was only manipulated, since such a scenery in the reality is to be caught with difficulty (nothing the despite would have had to be mentioned the production at least at the edge). Differently it behaves within the field of the policy. The fact that in the Kosovo and in the Iraq war pictorial material was manipulated by secret services and governments to justify the the employments is well-known - the devastating results likewise. But also with circumstances, with which it does not concern lives or death, picture manipulations for all involved ones can have negative consequences. Thus a digitally worked on poster caused a violent public debate e.g. on 23 January 2001. The poster given by the CDU in order showed the face of chancellor Schroeder frontally and in the profile. The indignation resulted from the provoking context, into which the pictures were placed and which Federal Chancellors diffamierten as criminals. How one reached? Obviously the picture arrangement should cause and the text the association of a search photo. The actual perfide and less vordergruendige picture manipulation was carried out however in the face by discrete changes: The mundwinkel were down-pulled, the lips were diminished and the eyes in the profile photos closed. The profile pictures, which were reflected, increased the impression to have a criminal before itself. "the entire face is a digital picture lie, in the sense, like it Alexander DIX, commisioner for data protection in Brandenburg, only recently described completely: ›Auf reason of the possibilities of the treatment of pictures drastically extended by the digitization of the photography has the owner of a picture also power, the appearance of the illustrating too manipulieren‹ (FR, of 27.07.01). The digital ›Gesichtsverlust‹ up to desired the in each case ›Kenntlichkeit‹ became the weapon in the political argument. "5 although these examples naturally differ from each other - in the case of the Kosovo and Iraq war the manipulation was not evident to proven journalists, while with the wanted poster these lighters was recognizable -, are both of these kinds of manipulation strongly to be criticized: In the first case will the impartial observer the possibility taken as objectively as possible about the situation in these countries to be informed and on this basis an opinion to form be able themselves - its opinions are directed in the way wished by secret services and politicians, it is to endorse the war due to not at all available facts. With the second case the manipulation has naturally even so serious effects - nevertheless: Here the border of the good taste is exceeded in a way, which can be harmful for the democracy and for the culture of the political Auseinadersetzung. Whether a manipulation should be permitted and may, depends thus on the relevance of the goals pursued with it. Which goals now did I pursue with the manipulation of my photographs? Before it must be stated that the manipulation of the photographs is more clearly evident and it differs thus from the examples evenly specified: Foreseen of it that the entire animation exhibits an artificially generated character is reduced, it gives it in it e.g. also no natural movements (these to fragments, which run off then in loops). Furthermore pursued I with manipulation photographs no other a goal, than a work of art standing for itself to create a digital painting inspired of OSCAR Gustave Rejlanders "Two Ways OF Life" that without the digital working on steps, which are represented in detail down could not have come. 2.4 the "criterion of the painting" the word "painting" used in the basic ideas may at first sight surprise. But William J. Mitchell and Lev Manovich proved that the film production generated from the computer again take the "criterion of the painting": "in its analysis of the digital photography William J. Mitchell directs our attention on the inherent changeableness of the digital picture so-called of it: The substantial characteristic of the digital information is their easy and very fast manipulating barness in a computer. Simply old through new digital data [... ] computer tools go to the transformation, combination, change and analysis from pictures are for the digital artist just as fundamentally as brushes and pigments for a Maler.‹ as Mitchell show, extinguish the inherent changeableness the difference between a photography and a painting only around the replacement of. Since a film consists of a series of photographies, Mitchells statement can be extended to the digital film. If an artist can change digitized filmmaterial as a whole or picture for picture, then a film in the certain sense becomes a set of paintings." 6 the "criterion of the painting", which Manovich refers here to the digital film, can be applied also to my project. It concerns, as said, a large painting, in which I (like the painter with a brush with a oelgemaelde) intervened and made the mentioned changes. It could theoretical be hung also to the wall. But since it a kurzfilm to concern is, is always only one part of the painting to see - in a continuous camera travel, without cuts the viewer can see piece for piece of the whole one. Would be conceivable to present the film as installation which could let the painting idea become clear: The film runs in an endless loop on a plasma panel hanging on the wall. 3. Execution 3. 1. The choice of the place a family with the picknick, young person, soccer games, recent pairs with the bath min clay/tone, Jogger, bicycle driver, Spaziergaenger - a park is after the Duden a "large, green area artificially put on with trees, bushes, u,ae,", 7 a public green belt for recovery, play and fun, durchzogene of walking ways. But it is also more than: For an outstanding observer humans any age meet, with the most different occupations and from the most different layers at this place: of the Banker, which spends its lunch time there, over schuleschwaenzende young people up to the homeless person, who broke its camp open on one of the banks - a park hardly reflects like another place the society again and offers therefore varied photograph possibilities. I noticed nevertheless fast when visiting different parks in Frankfurt/Main that they tighten different clientele and naturally also different attendance times have. So Banker are to be preferably found in the rope USA situation at midday, while young people meet rather in the Green castle park. Therefore I came on the idea to make the photographs not only in a park but into different, in order to join it end the conclusion to a new park and to unite thus also the different visitors at least virtually at a place. highly soluble pictorial material for the background required 3,2 recording technologies and methods the virtual camera travel over the painting. For this a digital photo camera was used, whose picture resolution corresponds to the ninefold size of a Pal video picture. This high image quality made it possible to carry out additional digital zoom shots and Schwenks in the painting without having to accept large dissolution losses, thus the appropriate place became indistinct or one the pixels to recognize could. For the admission of the persons a mini data processing camera was used, in order to be able to catch the movement fragments, which were later then inserted into the background. The photographs took place in the team, since each scene had to be held both with the digital photo camera and with the mini data processing camera at the same time. On the one hand so the Compositing (the unification of background and persons) was enormously facilitated due to the same lighting conditions. On the other hand the view limited the perception for the remaining environment by the Sucher of the mini data processing camera strongly; one concentrated too much on the straight filmed and thus herangezoomte person and gave themselves a perhaps still more interesting occurence or other person. Therefore was it importantly that another person kept the overview of the environment and leads thus "direction", thus to interesting to refer could, which had to be caught with the mini data processing camera. to 3,3 challenges with the admission if one tried to summarize the animation principle in a sentence it concerned to set video sequences on a static background picture. With the fact it was important that the video sequence - like also the background - is as stable, thus as possible not blurred. In order to reach this, a stand offered itself naturally, on which the mini data processing camera was fastened. But a stand would have limited too much in the freedom of movement and interesting photographs, with which as possible the camera had to be as rapid to the place, not come to let. Thus there is e.g. the scene, in which a police patrol a football player controls group. We had seen the police car, which continued in the middle in the Green castle park from the distance. Fast we ran there and filmed from the hand - which structure of the stand and the adjustment of the camera would have much to for a long time lasted, and perhaps would be we also noticed and would have had to deliver our film. The admission of the scene was naturally blurred and also not complete, so that it had to be strongly worked over again in post office production. Such a scene is an event, not daily occurs and it for the kurzfilm to catch to be able was a stroke of luck. For most other photographs required it rather patience, i.e. to wait up to e.g. a group of Jogger ran by or a woman with a buggy; these are events, which return with a certain probability periodically. Thus we had sighted a Jogger, but, since we were busy with another admission straight, not to film to be able. But on day after we saw it again, to accurately the same time and could it accept. The use of a stand for some scenes nevertheless made sense: e.g. pigeons should be filmed, which over a well away-fly. The pigeons highly and toward wells to scheuchen is an event, which can arbitrarily often be repeated. In this case one can intervene thus in the scene and also leave oneself therefore time. Such a scene is producable. With the video photographs had to be paid attention to film the persons vollformatig. With a photo it is to be still hurt, if a person is begun to cut, since the viewer adds automatically e.g. missing feet or a missing arm in the head. Differently with the insertion of a video sequence into a background: Cut off in this case a person with feet apparently by air to fly. No difficulty represented the photographs of persons, who hardly or only slowly induced itself to make volllformatig. Differently with e.g. Joggern: The danger that one, if too near to the appropriate persons were heranzoomt begins to cut a part of the body, was very large. With this video took up had therefore a totalere attitude size to be selected. A further difficulty consisted of the fact that the gathering of material was very time intensive: The photographs took altogether approx. six weeks. On the one hand I was dependent on beautiful weather. On the other hand the waiting period (although I, as mentioned, filmed in several parks, was partially very long around the most different people to take up to be able), until an interesting person turned out for me before the lens. Therefore I had to co-operate with different camera men, and frequently we had to again get into practice as a team, which led additionally to delays. Since I was however with each admission thereby, I developed a good in the course of the time feeling for interesting movements and scenes, which I could arrange then also for a cameraman, who went for the first time with me on material search. 4. Post office production at the start of the project was clear already that the chief work would lie in post office production. Post office production describes the phase of the rework of the noted material. It covers thus work procedures like the cut (in our case is void), the Nachvertonung, the Compositing and the treatment of diagrams with a production. What happens with the taken up material, if it is digitally worked over again? In addition Lev Manovich: "if Livehandlungen are once digitized (or to be directly digitally noted), lose it their privileged indexikalische relationship with the reality outside of the film. The computer differentiate not between a picture, which with a photographic lens take up, one with a program produce picture or one with a 3D-Grafikprogramm synthesize picture, since they all from the same material exist - from pixel. And pixels can be easily changed or replaced, regardless of their origin. Pictures of Livehandlungen are just like manually manufactured pictures only a further graphic form [... ] digital film producers work, in order to say it with the suggestiven name of a well-known Morphing software, with ›elastischer Wirklichkeit‹".8 4,1 sifting and listing the material after the six weeks gathering of material were present me approx. five hours of photographs with the mini data processing camera and several hundred digital photos. After a first rough sifting of the material followed the organization into groups, which was essential, in order not to lose the overview: 1. Sportsman, i.e. Jogger, football player, frisbee player, bath min clay/tone player, etc.; 2. Children and young person any age; 3. Seniors; 4. Foreign fellow citizens; 5. Authority, i.e. police, office for order, supervision of park, gardner; 6. Business, i.e. persons, which come obviously from the work; 7. Pairs; 8. Persons, who are noticeable, e.g. by extravagante clothes, taetowierungen, hair-styles, etc.; 9. Animals . But also within these groups it was difficult to regain individual photographs fast. Therefore I invented for each individual person a name, and/or a concise rewriting, which immediately caused the appropriate picture in my head: Thus the "Gucci Grandpa" became e.g. from an older gentleman, who was equipped in white linen trousers, blue shirt and expensive shoes dressed, with gold clock and designer eyeglasses, with me; from a pummeligen boy, who holds a remote controlled car in the hand, the "thickness remote boy" became. it noticed to 4,2 considerations for the composition of the material with the sifting of the material to me that from some particularly interesting persons sufficiently filmmaterial was present, in order to be able to tell about them its own history. But exactly that should be avoided. Nevertheless it could be delightful for the viewer, if some persons seemed several times, to two or three times; one can discover these details gradually and awake-hold thus the interest of the viewer also after repeated looking at of the film. But these repeated appearances should be so short that no history could develop over the persons, since this would have waived otherwise the moment of the coincidence - the photographs would planned have worked. The extensive material to individual persons had to be shortened thus radically. If persons emerge several times, then, then my considerations continued, in reverse chronology, in order to add for the viewer a further detail which can be discovered. In addition an example (see to screen SHOT P. 21): In the picture center one sees an older married couple, which walks; its gangrichtung runs to the left, it thus from right came. The camera drives therefore from left to the right, thus the way along, from which the married couple must have come. It passes Jogger finally again and the married couple, which toward the "starting point" moved, which passed lies in the reality in the future, in the film however, thus in the eye of the viewer, already. The animation should be able to run off as loop, i.e. the camera travel should return from the conclusion to the point of origin, so that everything begins from the front. Therefore it was necessary to specify the "scene" from beginning and conclusion to beginning. It had to be identical, in order to be able to arrange the transition of the conclusion of the animation imperceptible back to the beginning. I arranged this "scene" into several "animation island". This organization of the painting into individual animation islands was necessary for several reasons: 1. The with difficulty visible material abundance must have to be mastered. Since there was no flow diagram defined first with this animation, so different operating points could be created and the flow diagram during the work arise. 2. It could be worked in such a way on different scenes at the same time; on the one hand so the risk became that the entire work came into coming to a hold, if one did not get ahead at one point is reduced, on the other hand could in such a way to possibilities compiled, how the individual islands could be linked with one another. 4.2.1 the choice of the display format before now the actual animation start, had I could for a display format decide. Since the animation should not be out-exposed later on film, the format was given, i.e.: Pal Fernsehbildaufloesung. Additionally I used still another 16:9-Cache. Thus a part of the picture was covered above and down and thus a stronger horizontal adjustment of the pictorial material was obtained, what came to meet the panoramaaufnahmen in its effect. A further reason for the use of the 16:9-Cache lay in a larger liberty in the treatment of pictures (example photo): Because parts that of picture are covered, results with video sequences, which (for the reasons specified in point 3,3) were filmed in a totaleren attitude size, the impression, the persons concerned moved close more near, without having to accept by an additional digital zoom shot of losses in the image quality. 4,3 Compositing if several, individual picture elements to a new overall view to be joined, of Compositing one speaks. Hardly a medium today still gets along without this technology. It designates the simultaneous overlay several picture -, diagram and audio levels. Compositing is used in particular for short Trailer, for advertising productions or for Special Effects with features, but even the boulevard press does not get along today any longer without Compositing. Typical functions, which are needed with the Compositing, are Layering, color correction, key functions (Chromakey and others) as well as Painting. How the term suggests "Compositing", it concerns composition; in our case around picture composition. Similarly the musical interpretation of the term the art consists thus of it uniting elements in an inseparable overall view several (picture -). Important is that general impression is correct, and viewers impression wins, which would be overall view "at one time" photographed worden.9 even if, as, described with Compositing harmonious integrating of different picture elements is said, then exists nevertheless a majority of the work in the adjustment of the frames. Less geometrical working on stand such as rotation or scaling in the foreground, but rather at first sight inconspicuous details such as farbanpassung and manipulation. The main functions, which I had used for my kurzfilm, were: 1. Painting, 2. Timestretching, 3. Rotoscoping, 4. Stabilising/Tracking, 5. Colourcorrection the programs, which I had used for my kurzfilm, were: 1. Adobe Photoshop 2. REALVIZ ReTimer 3. Discreet Combustion 4,3,1 Painting in my case went it around joining the background pictures taken up with the digital photo camera to panoramas i.e. background with Adobe Photoshop interfaces to retouch and my conceptions to adapt accordingly, by with CoPy/paste (one of the elementary computer instructions) individual elements, e.g. trees, either were removed or added. It can be also said that I painted with a digital "brush" in the landscape, if I e.g. meadows extends increased. 4,3,2 Timestretching around the extension of the movement fragment on 3, described in 2.3, seconds to reach, thus the moment, in which the movement is frozen with the snapshot, I used the REALVIZ ReTimer. Only with this program such an extension was possible. The movement fragments, which had to be extended, were usually five to six Frames long, correspond 1/5 second, if one takes the normal film playing speed of 24 Frames per second as measure. In order to expand the movement fragment the 3 seconds planned by 1/5 second on, it would have to be slowed down around the fifteenfold, in order to come on approx. 75 Frames (corresponds about 3 second). Now video material cannot be slowed down however so easily so drastically, without the impression develops to attend a dia. Show. A possibility would be the use of a professional Highspeed movie camera been, which takes up fachen playing speed with a 15, that would naturally be 360 Frames in the second - a possibility, which was not possible however from logistic and financial reasons. With my search, how this problem was to be solved, I discovered the RH timer, with which amazing slow motion and quick-motion apparatus effects can be produced. Each video, each film or each picture sequence can be accelerated or slowed down thereby at will. It makes the movement possible of each individual pixel and generates automatically new Frames between already existing. The ReTimer provides so-called "in-Between of pictures", this is new pictures between the cyclographic pictures even filmed; these pictures are produced by analysis of the original picture movements. Beside the motion analyses uses the ReTimer also the Morphing technology: The new Frames is produced by Morphing elements between two input Frames along the movement. The movement is interpolated, i.e. from two Frames fifteen new, completely synthetic pictures are generated. A liquid movement develops. the einzelbildweise rework/retouching of film and video material marks 4,3,3 Rotoscoping Rotoscoping. In our case Rotoscoping substantial was used, since I had to release all persons in the video sequences by animated masks by hand. To studio technology and concomitantly on the Bluescreen procedure, which an automatic Keying, i.e. automatic punching out of the persons make possible, I could not fall back, since I ungestellte photographs to make and in free nature turn wanted. 4,3,4 Stabilising/Tracking around the picture sequences to stabilize I would use the Tracking technology. Since a stand was used only rarely, many photographs were blurred. With the application of the Tracking procedure it is possible to work against these inadvertent movements of the cameraman. In addition an object in the picture is selected, from which one knows that it does not move in the course of the picture sequence, thus no person, but e.g. a Coladose, who is on the way. This Coladose we explain as the "relevant range" (ROI = region OF Interrest10), i.e. on the Coladose a kind marking are put. The computer analyzes now the movement of the "relevant range", how much it deviates in the course of the sequence from its starting position. On the basis these data the computer calculates now the opposite direction of motion to the selected, stable point. Thus a sequence develops, in which itself the object selected before no longer moved - which became scene thus stabilized. 4,3,5 color correction with the admission with two different cameras is present always also two different color nuances. Responsible for this the CCD chip, which is built in all digital cameras, is thus both in a photo camera and in a mini data processing camera. The possibility exists to make a white alignment, with which the different nuances of two different devices can be adapted, this functioned however only conditionally, since some devices exhibit manufacturer conditionally certain color passes, which are so minimal that they are noticeable only later with the Compositing. In my case was it like that that the digital photo camera noted a rather bluish picture, and the picture of the mini data processing camera rather to a reddish-yellow clay/tone tended. But not only to the reconciliation of these different color nuances the color correction came to the employment, but also to the reconciliation of the different, the times of day appropriate brightness. With the color correction numerous manipulation possibilities are available: The depths, in the middle and heights, i.e. shade, neutral grey tones and lights can be corrected selectively coloured, to be changed contrast, saturation as well as color temperature selectively, etc.. 4,4 Schematic View - the schematic opinion over finally my complete animation to arrange, was used the program Combustion of Discreet. Here it concerns a Compositing program, which contains a batch function. A batch system is a program, which goes through a gescriptete succession and so quasi in a step finishes the finished Composite. The compilation of such a complex script is quite toilsome. Nevertheless batch-able programs have the large advantage that they (straight with large) make projects large flexibility possible, since they make it possible to be able to later change up to the conclusion each individual function in each process tree. Besides such a script in the network could be implemented. In order to get an impression of the complexity of the Compositing script of my animation, the placed in front illustration shows the Compositing hierarchy in its full size. The individual small boxes represent thereby work procedures, which are applied to in or several picture elements and to have as "sons" in each case the work procedures, which follow them. Afterwards giving ELT the script up and works on itself two individual picture elements or also groups of elements of etc. to the complete working process is carried out. Form the lowest level of the process tree the raw data, i.e. the video sequences and digital photos. On the strands leading upward the individual manipulations are, are it stabilization, are integrated it masks or color corrections. These strands lead to an animation island, where they are united to a partial panorama, in now all raw data of the video sequences and digital photos are one on the other co-ordinated - this partial panorama is unmarried stimmig for itself. However now if the various animation islands stimmigen in itself are united to the complete animation, they must go through a similar process as the raw data. Since the photographs for the one animation island were at noon taken up, which had for another however in the early evening the lighting conditions are together adapted also here.

Additionally smooth transitions between the islands must be manufactured by masks. Result is a completely animated travel by an artificially created park. Explanation I explains the fact that I the thesis (diploma) independently written and used no different than the indicated sources and aids. Mainz, 10 July 2003 Daniel Vincenzo Lo Iacono 5. Source-draw-eat 1 Roberta Pearson, "the early cinema", in: History of the international film, Stuttgart 1998, P. 17. 2 EH Ruhnau, "time as measure of present", in: What drives the time? Development and rule of the time in science, technology and religion, Hg v. Kurt point, Munich 1998, P. 93. 3 Ron Brinkmann, The kind and Science OF digitally Compositing, San Diego 1997, P. 4. 4 Christian Doelker, a picture is more than one picture - visual authority in the medium company, Stuttgart 1997, P. 27-28. 5 Rolf Seubert, "the picture in political propaganda", in: http://www.journalistik-journal.de/archiv/2001-2/index.htm 6 Lev Manovich, "which is digital film", in: Heise publishing house, Hanover 1997 (www.heise.de/tp/deutsch/spezial/film/6109/2.html) 7 Duden. Meaning dictionary. 2. and extended edition, Hg v. Wolfgang Mueller revised completely again and others, Mannheim, Leipzig, Vienna, Zurich 1985, P. 481. 8 Lev Manovich, which is digital film ", a.a.O. 9 see: Ron Brinkmann, The kind and Science OF digitally Compositing, a.a.O., P. 2-3. 10 see: ebenda, P. 105. "wanted poster Schroeder", http://www.phoenix.de/old/themen/topt/012001/01355/"Cheetah chasing impala, South Africa", www.stevebloom.com satellite photographs, D-Sat5 - Buhl DATA service GmbH down load film RK www.digitalsnapshot.de • mailto: info@digitalsnapshot.de thesis (diploma) in the course of studies medium Design • FH Mainz 2003